E-Bim Fondo Reserva Ms 1

Instituto Espanol de Musicologia, Barcelona, Spain

partbook: 1601-3

Archive	Instituto Espanol de Musicologia, Barcelona, Spain (E-Bim)
Shelfmark	Fondo Reserva Ms 1
Image Availability	DIAMM does not have images of this source.
Surface	Paper
Numbering System	Foliation
Measurements	260 x 202 mm
Other Identifiers	CCM: BarclM 34 olim (Former shelfmark): MS 34
Notations	black void mensural
External Links	Musica Hispanica: Spanish Early Music Manuscripts Database
Provenance	Toledo? Spain
Contents	62 pieces from 8 composers

General Description

An Altus partbook (voice-parts mostly in (2nd) superius range, with the occasional piece for 'altus' or tenor). At least 33 folios have been cut out, leaving only stubs (originally 72 folios); some evidence of other folios missing from later in book. May have been copied by a single scribe. Probably copied in Toledo; purchased in that city from an antiquarian book dealer.

DIAMM, 2017

Binding

Original covers of brown leather worked with gold.

DIAMM, 2017

Liminary Note

Inscription inside covers: 'Contra alto deno segor en [de voz que era?] de mi senora dona ysabel de quinoses de dona madalena de Billaquiran y de dona francisca ma Ri que [manrique?] que dios guarde amen amen.' Isabel de Quinoses and Dona Beatriz also named on back cover.

DIAMM, 2017

Notation

black void

DIAMM, 2017

Foliation

Original ink foliation, 34-72.

DIAMM, 2017

Surface

paper

DIAMM, 2017

DIAMM Note

A part-book preserved in the Instituto Español de Musicología, Barcelona, contains over fifty items of sacred music by composers associated with both the Cathedral and the Colegio de los Infantes in Toledo during the sixteenth and early seventeenth centuries. These composers range from Morales and Guerrero, to Francisco de Tapia and Jorge de Santa María -- both Masters at the Colegio in the later sixteenth century -- and Alonso Lobo, chapelmaster at the cathedral, 1593 to 1603. The majority of the music is unique to this source, and it also includes works by Morales that were revised for publication when he was in Italy. The part-book is very largely copied for second or first superius, and there are indications that much of the repertory was intended for high voices; but there is also the occasional piece for a lower voice part. The manuscript contains a wide range of Latin-texted sacred music that includes mass settings, Magnifi cats, motets and psalms. In addition to about a dozen items by Morales, the partbook includes rare settings of calendas by Santa Maria, examples of mass propers in contrapunto style by Francisco de Tapia, and a sequence of music for the Christmas Misa del gallo (midnight mass).

DIAMM, 2017

Census Catalogue of Music Description

This information is reproduced here by kind permission of the publishers. It is COPYRIGHT and copying/reproduction of this content without permission may result in legal action.

2 Masses, 6 Mass Proper sections, 5 Magnificats, 1 Te Deum, 1 Canticle, 17 psalms (9 are falsobordoni settings), 3 hymns, 2 Lamentations, 19 motets, 1 textless piece = 57 + 2 duplicates = 59

Detapia-7, Guerrero-2, A. Lobo-1, Morales-10, Ruys-1, anon-36

1 paper partbook (A-39 folios of an original 72), 260 x 202. At the beginning, 33 folios have been cut out; only stubs remain. Original ink foliation, 34-72. Original covers of brown leather worked with gold. No index. Inscription inside covers: "Co . . . ra al Io deno segor en demi senora dona ysabel de quinoses de dona madalena de Billaquiran y de dona foran, ciscama Ri que . . . dios guarde amen amen."

1601-3 (KirschQM). Probably copied in Toledo; purchased in that city from an antiquarian book dealer.

Census-Catalogue of Manuscript Sources of Polyphonic Music 1400-1550

Click an entry to see more information about that item.

Folio / Pages	Composition / Item title	Source attribution	Composers (? Uncertain)
34	[Gloria Patri]	-	Anonymous
[Gloria Patri] Anonymous Appears on: 34 Genres: Doxology General Note incomplete; last line (of a doxology) only
34	Verbum caro [v.4 of Pange lingua]	Ruys	Ruys
Verbum caro [v.4 of Pange lingua] Ruys Appears on: 34 Genres: Hymn Source Attribution: Ruys Voice: [no designation] Languages: none Voice Text: 1 work
34v	[Lauda Jerusalem] Quoniam confortavit (tone 8)	-	Anonymous
[Lauda Jerusalem] Quoniam confortavit (tone 8) Anonymous Appears on: 34v Genres: Fauxbourdon/faburden, Psalm General Note odd-numbered verses
35	Beatus vir (tone 6)	-	Anonymous
Beatus vir (tone 6) Anonymous Appears on: 35 Genres: Fauxbourdon/faburden, Psalm General Note alternatim setting, incomplete; does not match the text of Ps.111
35	(psalm setting, tone 6)	-	Anonymous
(psalm setting, tone 6) Anonymous Appears on: 35 Genres: Fauxbourdon/faburden, Psalm, textless General Note textless falsobordone setting for a psalm
35v–36	Salve regina (alternatim)	(anon)	Guerrero, Francisco
Salve regina (alternatim) Guerrero, Francisco Appears on: 35v–36 Genres: Antiphon, BVM, Salve Regina Source Attribution: (anon) Voice: [no designation] Languages: none Voice Text: 2 works
36	Deo gratias	guerrero	Guerrero, Francisco
Deo gratias Guerrero, Francisco Appears on: 36 Genres: Deo gratias Source Attribution: guerrero Concordances Also copied at f. 37
36–36v	[Beati omnes] Labores manum tuarum (tone 1)	Morales	Morales, Cristóbal de (ca. 1500–1553)
[Beati omnes] Labores manum tuarum (tone 1) Morales, Cristóbal de (ca. 1500–1553) Appears on: 36–36v Genres: Fauxbourdon/faburden, Psalm Source Attribution: Morales
36v–37	(psalm setting, tone 8)	Morales	Morales, Cristóbal de (ca. 1500–1553)
(psalm setting, tone 8) Morales, Cristóbal de (ca. 1500–1553) Appears on: 36v–37 Genres: Fauxbourdon/faburden, Psalm, textless Source Attribution: Morales
37	Deo gratias	guerrero	Guerrero, Francisco
Deo gratias Guerrero, Francisco Appears on: 37 Genres: Deo gratias Source Attribution: guerrero Concordances Also copied at f. 36
37v	Ego sum panis vivus	fran[cis]co De tapia	Tapia, Francisco de
Ego sum panis vivus Tapia, Francisco de Appears on: 37v Genres: Motet Source Attribution: fran[cis]co De tapia Voice: [no designation] Languages: none Voice Text: 7 works
38	Tenebrae factae sunt	fran[cis]co De tapia	Tapia, Francisco de
Tenebrae factae sunt Tapia, Francisco de Appears on: 38 Genres: Responsory Source Attribution: fran[cis]co De tapia
38v	O magnum mysterium	morales	Morales, Cristóbal de (ca. 1500–1553)
O magnum mysterium Morales, Cristóbal de (ca. 1500–1553) Appears on: 38v Genres: Motet Source Attribution: morales
39	Da mihi in disco	fran[cis]co De tapia	Tapia, Francisco de
Da mihi in disco Tapia, Francisco de Appears on: 39 Genres: Motet Source Attribution: fran[cis]co De tapia
39	[Te Deum] Te ergo quaesumus	fran[cis]co de tapia	Tapia, Francisco de
[Te Deum] Te ergo quaesumus Tapia, Francisco de Appears on: 39 Genres: Te Deum Source Attribution: fran[cis]co de tapia
39v–40	Sancti Jacobi apostoli	s[anta] m[ari]a	Santa Maria, Jorge de
Sancti Jacobi apostoli Santa Maria, Jorge de Appears on: 39v–40 Genres: Motet Source Attribution: s[anta] m[ari]a General Note described as a 'calenda', i.e. a festive motet
40–40v	Nativitas Sancti Joanis	santa maria	Santa Maria, Jorge de
Nativitas Sancti Joanis Santa Maria, Jorge de Appears on: 40–40v Genres: Motet Source Attribution: santa maria General Note described as a 'calenda', i.e. a festive motet
40v–41	Romae Sancti Joanis ante portam	santa maria	Santa Maria, Jorge de
Romae Sancti Joanis ante portam Santa Maria, Jorge de Appears on: 40v–41 Genres: Motet Source Attribution: santa maria General Note described as a 'calenda', i.e. a festive motet
41v	Jesus Christus eternus Deus	santa m[ari]a	Santa Maria, Jorge de
Jesus Christus eternus Deus Santa Maria, Jorge de Appears on: 41v Genres: Motet Source Attribution: santa m[ari]a General Note described as a 'calenda', i.e. a festive motet
42	Alleluia. Ego vos elegi	fran[cis]co De tapia	Tapia, Francisco de
Alleluia. Ego vos elegi Tapia, Francisco de Appears on: 42 Genres: Alleluia Source Attribution: fran[cis]co De tapia
42v–43	Alleluia. Pascha nostrum	fran[cis]co De tapia	Tapia, Francisco de
Alleluia. Pascha nostrum Tapia, Francisco de Appears on: 42v–43 Genres: Alleluia Source Attribution: fran[cis]co De tapia
43–43v	Gaudeamus omnes	De tapia	Tapia, Francisco de
Gaudeamus omnes Tapia, Francisco de Appears on: 43–43v Genres: Gradual Source Attribution: De tapia
44v–45	Magnificat (tone 4): Anima mea	Alonso Lovo	Lobo, Alonso
Magnificat (tone 4): Anima mea Lobo, Alonso Appears on: 44v–45 Genres: BVM, Canticle, Magnificat Source Attribution: Alonso Lovo Voice: [no designation] Languages: none Voice Text: 1 work
45v–49	Missa Benedicta es caelorum regina: Kyrie	misa valenciana de morales	Morales, Cristóbal de (ca. 1500–1553)
Missa Benedicta es caelorum regina: Kyrie Morales, Cristóbal de (ca. 1500–1553) Appears on: 45v–49 Genres: Kyrie eleison, Mass Ordinary Source Attribution: misa valenciana de morales General Note early version of the mass. "Analysis of the surviving voice part ... shows how Morales apparently quite freely re-worked the material for his Rome Dorico publication ... This concern for unity was also shown through the substitution of the former Credo (related to Credo I, and the Credo of his a4 Marian mass) with one matching the dual parody thematic structure of the other mass sections. The Gloria was also completely re-styled, and parts of some of the later sections of the mass were exchanged in the final version." (Nelson2010) Item Bibliography Nelson, Bernadette. 2002. Was Morales in Valencia? New light on the origins of the Missa Benedicta es, caelorum regina. Early Music, 365-379.
45v–49	Missa Benedicta es caelorum regina: Gloria	-	Morales, Cristóbal de (ca. 1500–1553)
Missa Benedicta es caelorum regina: Gloria Morales, Cristóbal de (ca. 1500–1553) Appears on: 45v–49 Genres: Gloria (et in terra pax), Mass Ordinary General Note early version of the mass. "Analysis of the surviving voice part ... shows how Morales apparently quite freely re-worked the material for his Rome Dorico publication ... This concern for unity was also shown through the substitution of the former Credo (related to Credo I, and the Credo of his a4 Marian mass) with one matching the dual parody thematic structure of the other mass sections. The Gloria was also completely re-styled, and parts of some of the later sections of the mass were exchanged in the final version." (Nelson2010) Item Bibliography Nelson, Bernadette. 2002. Was Morales in Valencia? New light on the origins of the Missa Benedicta es, caelorum regina. Early Music, 365-379.
45v–49	Missa Benedicta es caelorum regina: Credo	-	Morales, Cristóbal de (ca. 1500–1553)
Missa Benedicta es caelorum regina: Credo Morales, Cristóbal de (ca. 1500–1553) Appears on: 45v–49 Genres: Credo (patrem omnipotentem), Mass Ordinary General Note early version of the mass. "Analysis of the surviving voice part ... shows how Morales apparently quite freely re-worked the material for his Rome Dorico publication ... This concern for unity was also shown through the substitution of the former Credo (related to Credo I, and the Credo of his a4 Marian mass) with one matching the dual parody thematic structure of the other mass sections. The Gloria was also completely re-styled, and parts of some of the later sections of the mass were exchanged in the final version." (Nelson2010) Item Bibliography Nelson, Bernadette. 2002. Was Morales in Valencia? New light on the origins of the Missa Benedicta es, caelorum regina. Early Music, 365-379.
45v–49	Missa Benedicta es caelorum regina: Sanctus	-	Morales, Cristóbal de (ca. 1500–1553)
Missa Benedicta es caelorum regina: Sanctus Morales, Cristóbal de (ca. 1500–1553) Appears on: 45v–49 Genres: Mass Ordinary, Sanctus [& Benedictus] General Note early version of the mass; no Osanna or Benedictus. "Analysis of the surviving voice part ... shows how Morales apparently quite freely re-worked the material for his Rome Dorico publication ... This concern for unity was also shown through the substitution of the former Credo (related to Credo I, and the Credo of his a4 Marian mass) with one matching the dual parody thematic structure of the other mass sections. The Gloria was also completely re-styled, and parts of some of the later sections of the mass were exchanged in the final version." (Nelson2010) Item Bibliography Nelson, Bernadette. 2002. Was Morales in Valencia? New light on the origins of the Missa Benedicta es, caelorum regina. Early Music, 365-379.
45v–49	Missa Benedicta es caelorum regina: Agnus	-	Morales, Cristóbal de (ca. 1500–1553)
Missa Benedicta es caelorum regina: Agnus Morales, Cristóbal de (ca. 1500–1553) Appears on: 45v–49 Genres: Agnus Dei, Mass Ordinary General Note early version of the mass; one Agnus Dei 'miserere nobis' only. "Analysis of the surviving voice part ... shows how Morales apparently quite freely re-worked the material for his Rome Dorico publication ... This concern for unity was also shown through the substitution of the former Credo (related to Credo I, and the Credo of his a4 Marian mass) with one matching the dual parody thematic structure of the other mass sections. The Gloria was also completely re-styled, and parts of some of the later sections of the mass were exchanged in the final version." (Nelson2010) Item Bibliography Nelson, Bernadette. 2002. Was Morales in Valencia? New light on the origins of the Missa Benedicta es, caelorum regina. Early Music, 365-379.
49v	[Ave maris stella] Monstra te esse (II)	Morales	Morales, Cristóbal de (ca. 1500–1553)
[Ave maris stella] Monstra te esse (II) Morales, Cristóbal de (ca. 1500–1553) Appears on: 49v Genres: Ave maris stella, BVM, Vespers Source Attribution: Morales Voice: [no designation] Languages: none Voice Text: 10 works
49v	Deo gratias	morales	Morales, Cristóbal de (ca. 1500–1553)
Deo gratias Morales, Cristóbal de (ca. 1500–1553) Appears on: 49v Genres: Response Source Attribution: morales
50–50v	Magnificat (tone 8): Anima mea [K.528]	morales	Morales, Cristóbal de (ca. 1500–1553)
Magnificat (tone 8): Anima mea [K.528] Morales, Cristóbal de (ca. 1500–1553) Appears on: 50–50v Genres: BVM, Canticle, Magnificat Source Attribution: morales
51	[Pange lingua] Tantum ergo	(anon)	Morales, Cristóbal de (ca. 1500–1553)
[Pange lingua] Tantum ergo Morales, Cristóbal de (ca. 1500–1553) Appears on: 51 Genres: Hymn Source Attribution: (anon) Concordances also copied at f. 52
51v	Dominus dixit ad me	-	Anonymous
Dominus dixit ad me Anonymous Appears on: 51v Genres: Introit, Sequence
52	[Pange lingua] Tantum ergo	morales	Morales, Cristóbal de (ca. 1500–1553)
[Pange lingua] Tantum ergo Morales, Cristóbal de (ca. 1500–1553) Appears on: 52 Genres: Hymn Source Attribution: morales Concordances also copied at f. 51
52v–55	Misa del Gallo (Christmas mass): Kyrie	-	Anonymous
Misa del Gallo (Christmas mass): Kyrie Anonymous Appears on: 52v–55 Genres: Kyrie eleison, Mass Ordinary
52v–55	Misa del Gallo (Christmas mass): Gloria	-	Anonymous
Misa del Gallo (Christmas mass): Gloria Anonymous Appears on: 52v–55 Genres: Gloria (et in terra pax), Mass Ordinary
52v–55	Misa del Gallo (Christmas mass): Credo	-	Anonymous
Misa del Gallo (Christmas mass): Credo Anonymous Appears on: 52v–55 Genres: Credo (patrem omnipotentem), Mass Ordinary
52v–55	Misa del Gallo (Christmas mass): Sanctus	-	Anonymous
Misa del Gallo (Christmas mass): Sanctus Anonymous Appears on: 52v–55 Genres: Mass Ordinary, Sanctus [& Benedictus] General Note No Osanna or Benedictus
52v–55	Misa del Gallo (Christmas mass): Agnus Dei	-	Anonymous
Misa del Gallo (Christmas mass): Agnus Dei Anonymous Appears on: 52v–55 Genres: Agnus Dei, Mass Ordinary General Note Only one Agnus Dei "miserere nobis"
56	Alleluia. Dominus dixit as me (Misa del Gallo - Christmas mass)	-	Anonymous
Alleluia. Dominus dixit as me (Misa del Gallo - Christmas mass) Anonymous Appears on: 56 Genres: Alleluia
56	In splendoribus (Communion, Misa del Gallo - Christmas mass)	-	Anonymous
In splendoribus (Communion, Misa del Gallo - Christmas mass) Anonymous Appears on: 56 Genres: Communion
56v	Hodie nobis de caelo (Misa del Gallo - Christmas mass)	-	Anonymous
Hodie nobis de caelo (Misa del Gallo - Christmas mass) Anonymous Appears on: 56v Genres: Motet
56v	Hodie illuxit dies (Misa del Gallo - Christmas mass)	-	Anonymous
Hodie illuxit dies (Misa del Gallo - Christmas mass) Anonymous Appears on: 56v Genres: Motet
57	O magnum mysterium (Misa del Gallo - Christmas mass)	-	Anonymous
O magnum mysterium (Misa del Gallo - Christmas mass) Anonymous Appears on: 57 Genres: Motet
57–57v	Domine audivi (Misa del Gallo - Christmas mass)	-	Anonymous
Domine audivi (Misa del Gallo - Christmas mass) Anonymous Appears on: 57–57v Genres: Motet
57v	Gloria in excelsis Deo (I) (Misa del Gallo - Christmas mass)	-	Anonymous
Gloria in excelsis Deo (I) (Misa del Gallo - Christmas mass) Anonymous Appears on: 57v Genres: Motet
57v	Gloria in excelsis Deo (II) (Misa del Gallo - Christmas mass)	-	Anonymous
Gloria in excelsis Deo (II) (Misa del Gallo - Christmas mass) Anonymous Appears on: 57v Genres: Motet
58–58v	Et erexit (tone 8)	-	Anonymous
Et erexit (tone 8) Anonymous Appears on: 58–58v Genres: Canticle
58v–59	[Dixit Dominus] Donec ponam inimicos (tone 1)	-	Anonymous
[Dixit Dominus] Donec ponam inimicos (tone 1) Anonymous Appears on: 58v–59 Genres: Psalm
59	[De profundis] Fiant aures tuae (tone 4)	-	Anonymous
[De profundis] Fiant aures tuae (tone 4) Anonymous Appears on: 59 Genres: Psalm
59v–60	[Laudate pueri] Sit nomen nomini (tone 6)	-	Anonymous
[Laudate pueri] Sit nomen nomini (tone 6) Anonymous Appears on: 59v–60 Genres: Psalm
60–60v	[Lauda Jerusalem] Quoniam confortavit (tone 8)	-	Anonymous
[Lauda Jerusalem] Quoniam confortavit (tone 8) Anonymous Appears on: 60–60v Genres: Psalm
60v	Christe redemptor	-	Anonymous
Christe redemptor Anonymous Appears on: 60v Genres: Hymn General Note verse 1 only
61–61v	Psalm-tone formulae (all 8 tones)	-	Anonymous
Psalm-tone formulae (all 8 tones) Anonymous Appears on: 61–61v Genres: Psalm General Note Psalm-tone fabordon formulae in each of the 8 tones, set ot Dixit Dominus v.2 "Donec ponam inimicos". Followed by an untexted additional setting in tone 2. Tones 1-7, f. 61; tone 8 & additional tone 2, f. 61v.
61v	Christus natus est nobis	-	Anonymous
Christus natus est nobis Anonymous Appears on: 61v Genres: Antiphon
62v–63	Magnificat (tone 8): Et exultavit [K.443]	-	Anonymous
Magnificat (tone 8): Et exultavit [K.443] Anonymous Appears on: 62v–63 Genres: BVM, Canticle, Magnificat
64v–65v	Lamentations (5): Aleph. Quomodo sedet sola civitas Beth. Plorans ploravit in nocte Gimel. Migravit Iudas propter afflictionem Daleth. Vie Sion lugent eo quod non Heth. Facti sunt hostes eius in capite Jerusalem convertere ad Dominum Deum	(anon)	Morales, Cristóbal de (ca. 1500–1553)
Lamentations (5): Aleph. Quomodo sedet sola civitas Beth. Plorans ploravit in nocte Gimel. Migravit Iudas propter afflictionem Daleth. Vie Sion lugent eo quod non Heth. Facti sunt hostes eius in capite Jerusalem convertere ad Dominum Deum Morales, Cristóbal de (ca. 1500–1553) Appears on: 64v–65v Genres: Motet Source Attribution: (anon)
66v–67	Veni sancte Spiritus	-	Anonymous
Veni sancte Spiritus Anonymous Appears on: 66v–67 Genres: Sequence Concordances Same music as the following piece 'Lauda Sion'
67v–68	Lauda Sion	-	Anonymous
Lauda Sion Anonymous Appears on: 67v–68 Genres: Sequence Concordances Same music as the preceding piece 'Veni sancte spiritus'
68v–69v, 72	Magnificat (tone 6): Et exultavit [K.925]	Morales	Morales, Cristóbal de (ca. 1500–1553)
Magnificat (tone 6): Et exultavit [K.925] Morales, Cristóbal de (ca. 1500–1553) Appears on: 68v–69v, 72 Genres: BVM, Canticle, Magnificat Source Attribution: Morales General Note Nelson2010 explores Morales' re-use of ideas from this composition in writing the piece in the published 'set'. Item Bibliography Nelson, Bernadette. 2010. A Little Known Part-Book From Toledo. Music By Morales, Guerrero, Jorge De Santa María, Alonso Lobo And Others In Barcelona, Instituto Español De Musicología, Fondo Reserva, Ms 1. Anuario Musical, 25-56. Pages: 31-34.
70–71	Magnificat (tone 1): Anima mea [K.923}	Morales	Morales, Cristóbal de (ca. 1500–1553)
Magnificat (tone 1): Anima mea [K.923} Morales, Cristóbal de (ca. 1500–1553) Appears on: 70–71 Genres: BVM, Canticle, Magnificat Source Attribution: Morales General Note Nelson2010 explores Morales' re-use of ideas from this composition in writing the piece in the published 'set'. Item Bibliography Nelson, Bernadette. 2010. A Little Known Part-Book From Toledo. Music By Morales, Guerrero, Jorge De Santa María, Alonso Lobo And Others In Barcelona, Instituto Español De Musicología, Fondo Reserva, Ms 1. Anuario Musical, 25-56. Pages: 31-34.
71v	Ne recorderis dirige dum veneris / Kyrie eleison	(anon)	Guerrero, Francisco (?) Torre, Francisco de la Morales, Cristóbal de (ca. 1500–1553) (?)
Ne recorderis dirige dum veneris / Kyrie eleison Guerrero, Francisco (?) Torre, Francisco de la Morales, Cristóbal de (ca. 1500–1553) (?) Appears on: 71v Genres: Responsory, Verse Source Attribution: (anon) General Note incomplete

Composer	Compositions
Anonymous	(psalm setting, tone 6) – 35 Alleluia. Dominus dixit as me (Misa del Gallo - Christmas mass) – 56 Beatus vir (tone 6) – 35 Christe redemptor – 60v Christus natus est nobis – 61v Domine audivi (Misa del Gallo - Christmas mass) – 57–57v Dominus dixit ad me – 51v Et erexit (tone 8) – 58–58v Gloria in excelsis Deo (I) (Misa del Gallo - Christmas mass) – 57v Gloria in excelsis Deo (II) (Misa del Gallo - Christmas mass) – 57v Hodie illuxit dies (Misa del Gallo - Christmas mass) – 56v Hodie nobis de caelo (Misa del Gallo - Christmas mass) – 56v In splendoribus (Communion, Misa del Gallo - Christmas mass) – 56 Lauda Sion – 67v–68 Magnificat (tone 8): Et exultavit [K.443] – 62v–63 Misa del Gallo (Christmas mass): Agnus Dei – 52v–55 Misa del Gallo (Christmas mass): Credo – 52v–55 Misa del Gallo (Christmas mass): Gloria – 52v–55 Misa del Gallo (Christmas mass): Kyrie – 52v–55 Misa del Gallo (Christmas mass): Sanctus – 52v–55 O magnum mysterium (Misa del Gallo - Christmas mass) – 57 Psalm-tone formulae (all 8 tones) – 61–61v Veni sancte Spiritus – 66v–67 [De profundis] Fiant aures tuae (tone 4) – 59 [Dixit Dominus] Donec ponam inimicos (tone 1) – 58v–59 [Gloria Patri] – 34 [Lauda Jerusalem] Quoniam confortavit (tone 8) – 34v [Lauda Jerusalem] Quoniam confortavit (tone 8) – 60–60v [Laudate pueri] Sit nomen nomini (tone 6) – 59v–60
Guerrero, Francisco	Deo gratias – 36 Deo gratias – 37 (?) Ne recorderis dirige dum veneris / Kyrie eleison – 71v Salve regina (alternatim) – 35v–36
Lobo, Alonso	Magnificat (tone 4): Anima mea – 44v–45
Morales, Cristóbal de (ca. 1500–1553)	(psalm setting, tone 8) – 36v–37 Deo gratias – 49v Lamentations (5): Aleph. Quomodo sedet sola civitas Beth. Plorans ploravit in nocte Gimel. Migravit Iudas propter afflictionem Daleth. Vie Sion lugent eo quod non Heth. Facti sunt hostes eius in capite Jerusalem convertere ad Dominum Deum – 64v–65v Magnificat (tone 1): Anima mea [K.923} – 70–71 Magnificat (tone 6): Et exultavit [K.925] – 68v–69v, 72 Magnificat (tone 8): Anima mea [K.528] – 50–50v Missa Benedicta es caelorum regina: Agnus – 45v–49 Missa Benedicta es caelorum regina: Credo – 45v–49 Missa Benedicta es caelorum regina: Gloria – 45v–49 Missa Benedicta es caelorum regina: Kyrie – 45v–49 Missa Benedicta es caelorum regina: Sanctus – 45v–49 (?) Ne recorderis dirige dum veneris / Kyrie eleison – 71v O magnum mysterium – 38v [Ave maris stella] Monstra te esse (II) – 49v [Beati omnes] Labores manum tuarum (tone 1) – 36–36v [Pange lingua] Tantum ergo – 52 [Pange lingua] Tantum ergo – 51
Ruys	Verbum caro [v.4 of Pange lingua] – 34
Santa Maria, Jorge de	Jesus Christus eternus Deus – 41v Nativitas Sancti Joanis – 40–40v Romae Sancti Joanis ante portam – 40v–41 Sancti Jacobi apostoli – 39v–40
Tapia, Francisco de	Alleluia. Ego vos elegi – 42 Alleluia. Pascha nostrum – 42v–43 Da mihi in disco – 39 Ego sum panis vivus – 37v Gaudeamus omnes – 43–43v Tenebrae factae sunt – 38 [Te Deum] Te ergo quaesumus – 39
Torre, Francisco de la	Ne recorderis dirige dum veneris / Kyrie eleison – 71v

Composition	Composers (? Uncertain)	Folios / Pages
(psalm setting, tone 6)	Anonymous	35
(psalm setting, tone 8)	Morales, Cristóbal de (ca. 1500–1553)	36v–37
[Ave maris stella] Monstra te esse (II)	Morales, Cristóbal de (ca. 1500–1553)	49v
[Beati omnes] Labores manum tuarum (tone 1)	Morales, Cristóbal de (ca. 1500–1553)	36–36v
[De profundis] Fiant aures tuae (tone 4)	Anonymous	59
[Dixit Dominus] Donec ponam inimicos (tone 1)	Anonymous	58v–59
[Gloria Patri]	Anonymous	34
[Lauda Jerusalem] Quoniam confortavit (tone 8)	Anonymous	34v
[Lauda Jerusalem] Quoniam confortavit (tone 8)	Anonymous	60–60v
[Laudate pueri] Sit nomen nomini (tone 6)	Anonymous	59v–60
[Pange lingua] Tantum ergo	Morales, Cristóbal de (ca. 1500–1553)	51
[Pange lingua] Tantum ergo	Morales, Cristóbal de (ca. 1500–1553)	52
[Te Deum] Te ergo quaesumus	Tapia, Francisco de	39
Alleluia. Dominus dixit as me (Misa del Gallo - Christmas mass)	Anonymous	56
Alleluia. Ego vos elegi	Tapia, Francisco de	42
Alleluia. Pascha nostrum	Tapia, Francisco de	42v–43
Beatus vir (tone 6)	Anonymous	35
Christe redemptor	Anonymous	60v
Christus natus est nobis	Anonymous	61v
Da mihi in disco	Tapia, Francisco de	39
Deo gratias	Guerrero, Francisco	36
Deo gratias	Guerrero, Francisco	37
Deo gratias	Morales, Cristóbal de (ca. 1500–1553)	49v
Domine audivi (Misa del Gallo - Christmas mass)	Anonymous	57–57v
Dominus dixit ad me	Anonymous	51v
Ego sum panis vivus	Tapia, Francisco de	37v
Et erexit (tone 8)	Anonymous	58–58v
Gaudeamus omnes	Tapia, Francisco de	43–43v
Gloria in excelsis Deo (I) (Misa del Gallo - Christmas mass)	Anonymous	57v
Gloria in excelsis Deo (II) (Misa del Gallo - Christmas mass)	Anonymous	57v
Hodie illuxit dies (Misa del Gallo - Christmas mass)	Anonymous	56v
Hodie nobis de caelo (Misa del Gallo - Christmas mass)	Anonymous	56v
In splendoribus (Communion, Misa del Gallo - Christmas mass)	Anonymous	56
Jesus Christus eternus Deus	Santa Maria, Jorge de	41v
Lamentations (5): Aleph. Quomodo sedet sola civitas Beth. Plorans ploravit in nocte Gimel. Migravit Iudas propter afflictionem Daleth. Vie Sion lugent eo quod non Heth. Facti sunt hostes eius in capite Jerusalem convertere ad Dominum Deum	Morales, Cristóbal de (ca. 1500–1553)	64v–65v
Lauda Sion	Anonymous	67v–68
Magnificat (tone 1): Anima mea [K.923}	Morales, Cristóbal de (ca. 1500–1553)	70–71
Magnificat (tone 4): Anima mea	Lobo, Alonso	44v–45
Magnificat (tone 6): Et exultavit [K.925]	Morales, Cristóbal de (ca. 1500–1553)	68v–69v, 72
Magnificat (tone 8): Anima mea [K.528]	Morales, Cristóbal de (ca. 1500–1553)	50–50v
Magnificat (tone 8): Et exultavit [K.443]	Anonymous	62v–63
Misa del Gallo (Christmas mass): Agnus Dei	Anonymous	52v–55
Misa del Gallo (Christmas mass): Credo	Anonymous	52v–55
Misa del Gallo (Christmas mass): Gloria	Anonymous	52v–55
Misa del Gallo (Christmas mass): Kyrie	Anonymous	52v–55
Misa del Gallo (Christmas mass): Sanctus	Anonymous	52v–55
Missa Benedicta es caelorum regina: Agnus	Morales, Cristóbal de (ca. 1500–1553)	45v–49
Missa Benedicta es caelorum regina: Credo	Morales, Cristóbal de (ca. 1500–1553)	45v–49
Missa Benedicta es caelorum regina: Gloria	Morales, Cristóbal de (ca. 1500–1553)	45v–49
Missa Benedicta es caelorum regina: Kyrie	Morales, Cristóbal de (ca. 1500–1553)	45v–49
Missa Benedicta es caelorum regina: Sanctus	Morales, Cristóbal de (ca. 1500–1553)	45v–49
Nativitas Sancti Joanis	Santa Maria, Jorge de	40–40v
Ne recorderis dirige dum veneris / Kyrie eleison	Guerrero, Francisco (?) Torre, Francisco de la Morales, Cristóbal de (ca. 1500–1553) (?)	71v
O magnum mysterium	Morales, Cristóbal de (ca. 1500–1553)	38v
O magnum mysterium (Misa del Gallo - Christmas mass)	Anonymous	57
Psalm-tone formulae (all 8 tones)	Anonymous	61–61v
Romae Sancti Joanis ante portam	Santa Maria, Jorge de	40v–41
Salve regina (alternatim)	Guerrero, Francisco	35v–36
Sancti Jacobi apostoli	Santa Maria, Jorge de	39v–40
Tenebrae factae sunt	Tapia, Francisco de	38
Veni sancte Spiritus	Anonymous	66v–67
Verbum caro [v.4 of Pange lingua]	Ruys	34

‡ denotes primary source study

Nelson, Bernadette. None. Morales’s contribution to the Pange lingua tradition and an anonymous Tantum ergo. Cristóbal de Morales: Sources, Influences, Reception, 85-109. Woodbridge, Boydell.

Nelson, Bernadette. 2010. A Little Known Part-Book From Toledo. Music By Morales, Guerrero, Jorge De Santa María, Alonso Lobo And Others In Barcelona, Instituto Español De Musicología, Fondo Reserva, Ms 1. Anuario Musical, 25-56. Notes: full inventory.

Nelson, Bernadette. 2002. Was Morales in Valencia? New light on the origins of the Missa Benedicta es, caelorum regina. Early Music, 365-379. Notes: facsimiles (partial), description (partial).

Kirsch, Winfried. 1966. Die Quellen der mehrstimmigen Magnificat- und Te Deum-Vertonungen bis zur Mitte des 16. Jahrhunderts. Tutzing. Pages: 121.

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Monday, 23 January, 2017

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Census-Catalogue of Manuscript Sources of Polyphonic Music 1400-1550

Monday, 23 January, 2017

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